Although we have no recipes definitively attributable to the ancient Phoenicians, and little information about the foods and dishes they ate, we do know from their material culture that they dined in style. The platter below is a beautiful example of Phoenician craftsmanship from the 8th Century BCE.
In the center of the platter, a man stabs a raging lion. The pair are surrounded by a ring of flying ducks and prancing stallions. In the next ring, archers on foot and mounted spearmen advance among trees behind chariots. The design, which may represent a hunting expedition, is encircled by a serpent with delicately patterned skin. One of the most stunning things about the platter is that the musculature of the animals and people is produced by repoussé, or hammering from the reverse side to raise the metal. And speaking as a former anatomist – it is gloriously correct in the highlightling of the stallion’s haunches and the leg muscles of the hunters.
The Silk Roadiness of the object is evident in the use of both Egyptian and Mesopotamian styling. The clothing and hairstyle of the figures is Egyptian while the subject matter of the central scene is a common Mesopotamian theme of combat between man and beast. Phoenician artists frequently worked in the styles of neighboring cultures, in part because they had so much contact with them as a major trading hub between the civilizations in Western Asian and Northern Africa. I just wish we knew what filled the platters!
(Words by Laura Kelley; Photo of Phoenician Platter from Walters Museum by Laura Kelley)
For the past forty years, archaeologists on the Saudi peninsula have been piecing together a pre-Islamic past featuring great city-states that had cultural and commercial connections with the cities of ancient Mesopotamia, Syria, Egypt, Greece and Rome. These ancient trade cities are one of the foci of a new exhibit at the Sackler in Washington, DC, called Roads of Arabia. The other set of “roads” treated in the exhibit are the later Islamic-era pilgrimage roads to Mecca and the influence of the people traveling those roads on the Arab world. With 320 objects spanning more than one-million years, from Paleolithic petroglyphs to the rise of the modern Saudi state, the exhibit is a showcase of treasures never seen in the United States until now.
The exhibit is laid out chronologically and begins with three rock stelae with individual faces carved on them recovered from Found near Ha’il in the north-central region of Saudi Arabia. They date to around 3500 BCE, and starkly lit, the stelae glow against a black background, and invite you to approach and ponder the people who made them. Other early objects are those from Tarut, an island on Saudi Arabia’s eastern coast that was the center of the Dilmun civilization that was later to move to the island now known as Bahrain.
Objects from this era include black, gray and white stone jars, cups, and bowls that may have originated in SE Iran or may have been made on Tarut. Items of similar design and manufacture have been found in Syria, Mesopotamia, and as far east as the Fergana Valley in present-day Uzbekistan, indicating the extent of the trade network that the people of Tarut were part of in antiquity.
Another statue of definitive Tarut manufacture is of a man singing a prayer that shows evidence of Near Eastern influence. It is a large, limestone piece, slightly over 3-feet in length. His rounded head, right hand clasping his left to his chest, as well as his triple-banded belt are all found in Mesopotamian statuary from a similar period around 2500 BCE.
Although I preferred the earlier items on display because of the evidence they provided of connections with other ancient cultures, there are some stunning things to see in the later part of the exhibit as well. One such item is a gold funerary mask from the tomb of a young girl from Thaj that is around 2000 years old. The mask is serene and beautiful and reminds me of the “Mask of Agamemnon” found at Troy that dates to 1500 BCE. Also in the tomb was a large amount of gold jewelry with semiprecious stones such as amethysts, carnelian and pearls that would have adorned the girl in the afterlife. The design of the mask and the jewelry both show contact with Greco-Roman civilization, and are evidence of the wealth that trading brought to ancient Arabia.
From the period of about the 4th Century BCE to the 16th century, there are fine examples of molded and blown glass that have somehow survived the passage of time. Some of these are locally made, and others are of foreign manufacture – all are beautiful and of a variety of colors and iridesence. One of my favorites was a small medicine bottle shaped and colored like a date.
From the second part of the exhibit depicting the roads to Mecca, there is a breathtaking display of tombstones of pilgrims who died at Mecca or on the way and were laid to rest there. The stones are carved from local basalt that often has its natural shape. The Arabic calligraphy that adorns the stones is highly designed to fit the shape of the stones and the space allowed for the epitaths. This section of the exhibit is both beautiful, sad and very human and reminds us that people and their stories lay behind each and every object.
There is also an unspoken message of the exhibition to western ears that I “can’t not” mention, and that is that the Saudis and other Muslims embrace their pre-Islamic history. The deplorable crimes against history and humanity that have been committed in Bamiyan and in many other places are not based in Islam or the Koran and are product of unfortunate, closed minds.
So, in closing, the exhibit does a good job telling us how ancient Arabs traded indigenous goods such as incense and aromatic spices, but it doesn’t show us how Arabs were global dealers in goods from many shores. Arabs dealt in timbers from Africa and South Asia and spices from India and Indonesia and brought these items to the far reaches of the world. Without Arab merchants, the Silk Road might not have been the engine of globalization that it was. I hope that future archaeological finds help tell this missing part of the story and further fill in the past of these great peoples.
The exhibit runs through February 24th in Washington and then travels to the Houston Museum of Fine Arts, San Francisco’s Asian Art Museum and venues in Chicago and Boston through early 2015. If you are near any of these venues or will be passing through, make time to see this exhibit. You will learn a lot and see many, “wondrous things.” (Words by Laura Kelley. Photo of Ha’il Stelae, Gold Death Mask and Gravestones of the Faithful from exhibition website; photo of Singing Man from Tarut from pamphlet, Tarut Island by Murtadha Al-Ruwaie.)
Click on the YouTube video below for the official teaser-trailer of the exhibition (its great)!
Click the link above to read the article on the publisher’s website and peruse the other articles in the issue. I really like the magazine, because its stated objective is to build understanding between peoples by increasing reader’s knowledge of the Muslim world and its peoples and their connections to the west.
Thanks to the editors of the magazine for publishing the article, and thanks to the friends of Silk Road Gourmet who allowed me to submit their photos to illustrate these delicious, ancient dishes. I hope you enjoy the article as well as the magazine!
There is a chill in the air and early mornings before the sun are best spent wrapped in a blanket, so it is time to welcome Autumn in once again. Sort of like a migratory bird taking its cues from the failing sun, I’ve realized that it is time for my annual exploration of Mesopotamian Cuisine. I have long wanted to try some of the complex fowl recipes on the Yale Babylonian Collection tablet 8958 and decided to try recipe 1 for Wildfowl Pie.
My review of the finished dish is below, but I can say that preparing it was fascinating. Specifically, what I am in awe about is that such an ancient recipe (from around 1700 BCE) produced a dish that seems so . . . familiar. Surely, cooking gives us insight into their world, but it also shows us how so many ancient traditions and elements of material culture continue to resonate today.
The original ingredients on the tablet are: Fowl, water, milk, salt, fat, cinnamon, mustard greens, shallots, semolina, leeks, garlic, flour, brine, roasted dill seeds, mint, wild tulip bulbs. From these basics, the ingredients below were drawn with some substitution, either for convenience in cooking or because of disagreement with the original translation. I used Cornish game hen instead of wildfowl largely because I had several on hand. The original recipe does not specify what type of bird should be used; it says only “small” birds. If you choose to try the recipe with quail or other bird, you will need a lot more than 2 and you will need to adjust the cooking time.
I used mustard greens instead of rue, largely because I wasn’t convinced that Bottero had identified the plant correctly. Sibburatu is a highly aromatic plant of which both the leaves AND the seeds are used. Rue leaves are used in cooking, but to my knowledge, the seeds are not. On the other hand, mustard does offer a sharp flavor and both the leaves and seeds are used. Additional evidence that Sibburatu may be mustard instead of rue is that it was extensively used for poultices – especially on the eyes – and to treat a variety of internal ailments, particularly urinary tract infections. You may have a different sense of pain than I, but I would not want a poultice of rue on my eyes or on any other part of my body given the pain and blisters in is known to cause.
The “aromatic wood” specified by Bottero is not kasu (licorice) so my first best guess is that it is cinnamon which would have been known at the time of the tablets either by direct contact with Sri Lanka or indirect via Egypt which was the single largest purchaser of cinnamon from the Southern Asian island paradise. As to sebetu, Bottero thought these were small rolls made out of grain, which doesn’t make a great deal of culinary sense. I however think that they are dill seeds because sibetum is dill in Assyrian, and the vowel shift is inconsequential (in this case). I think that sebetu-rolls as specified by Bottero are roasted dill seed that is used to flavor both the crust and the pie. I added ground cilantro and cumin seeds because both spices were known by the Mesopotamians, and such variation was not only well within the expected use of such a “recipe”, but it was indeed expected that cooks would personalize them.
I chose to make the crust from a mix of rye and white flour. Rye would have been known to the ancient Mesopotamians and I thought it would work well with a savory pie. However I used white flour instead of spelt or emmer for convenience. I have spelt on hand, but wanted a dough with a consistency and flavor that would work with rye. The amount of dough made with the recipe is more than ample to fill a large pie dish and cover. If desired, you can make rye crackers or something else with the remainder.
The layered assembly of the pie is written in the tablet, which specifies a layer of mint on the bottom of the pie followed by a layer of chicken. Based on this recipe, the Babylonians were layering dishes a few millenia before the Persians – who are usually given credit for the technique – started doing it. Thus, layering is another culinary technique with deep regional roots that is still found today and one that has spread widely from its point of origin.
Without much further ado, the ingredients and method:
Mesopotamian Wildfowl Pie
Hens for Pie
2 Cornish game hens
2 teaspoons of sea salt
8 cups of water
6 cups of whole milk
2 tablespoons of butter
2 large (4-5 inch) Sri Lankan cinnamon sticks
6-10 mustard leaves, well rinsed and chopped
1 tablespoon of dried mint
2 tablespoons garlic diced
6 medium shallots, peeled and chopped
2 leeks, thoroughly cleaned and chopped
2 tablespoons of semolina
1.5 cups of rye flour
1.5 cups of white flour (plus extra for flouring kneading and rolling surfaces)
½ cup butter, cut up into small pieces
½ -¾ cup of whole milk
¼ – 1/3 cup brine (3 cups water to ¼ cup sea salt), chilled
¼ cup dill seeds lightly roasted in a pan or oven
Salt the hens liberally inside and out and set aside. In a saucepan large enough to hold the hens submerged in liquid, heat water and milk. Add butter, cinnamon sticks, mustard greens and mint and stir. When it just approaches a boil remove from flame and stir. It will be necessary to watch the pot, as the milk will make it froth and boil over as it comes to a boil. Let for about 10 minutes and pulse the shallots, leeks and garlic in a food processor until they are blended but still have form.
Place hens in the pot and return to flame. Cook partially covered over medium heat until the liquid approaches a boil. Stir, reduce flame and add chopped vegetables along with semolina and stir again. Cook partially covered over medium-low heat (gas-mark 4) for about 20-25 minutes, stirring occasionally. About halfway through cooking flip the hens. The hens will be done when you can easily push a spoon through the back. When done remove and set aside to cool until the hens can be deboned by hand. Continue to cook the broth the milk and water mixture over low flame until it is reduced by at least half. Stir occasionally. If the mixture starts to curdle up, stop cooking and remove from heat.
While waiting for the hens to cool, mix flour and butter with a pastry cutter until it begins to come together like cornmeal. Then add milk one tablespoon at a time until moist enough to form a ball. Then add brined water until the flour comes together into a dough and you are able to knead the dough. (Please note that the moisture needed to form the dough depends upon the quality, grind and hydration of the flour and the climate. Please use the measurements above as recommendations, and use less or more depending upon your local requirements.) Knead for 5 full minutes until dough is uniform, soft and nicely pliable. If it starts to stick to your hands as you knead, simply add a bit more flour to the surface until the dough integrity is restored. When you are done kneading the dough, form it into a ball and then divide the ball into two pieces for the bottom and top crusts. Add about half of the dill seeds to the dough for the top crust and work through thoroughly. Then let the dough rest for a while. Refrigerate for about half an hour to cool the butter a bit.
Leaves from 10-12 mint sprigs, rinsed and dried (a heap of mint leaves)
Shredded meat from game hens cooked in part one
2 teaspoons salt
Mustard greens, rinsed and torn
1 teaspoon cinnamon
2 tablespoons garlic, minced
2 leeks, rinsed well and chopped
1 tablespoon cilantro seeds, ground
2 teaspoons cumin seed, ground
Remaining roasted dill seed from part one
4 tablespoons butter
Preheat oven to 350 degrees Fahrenheit. Liberally flour your rolling surface, flatten the ball of dough that will form the bottom crust and lightly flour both sides. From the center of the dough, roll out bottom crust to be a couple of inches larger than the pie dish you are using. The dough may be very elastic and a bit sticky given the mixture of flours. If the dough gets sticky, just dust it with a bit of flour and continue rolling. Spray or butter the dish and fold the rolled out dough into quarters before lining the pie dish with it. Fit the dough into the crust by easing it into the curves rather than stretching the dough.
Layer the bottom of the crust with half of the mint leaves. Over them place about half of the shredded chicken mixed with have of the chopped shallots, leeks and garlic. Sprinkle 1 teaspoon of the salt over chicken and vegetables and then place a layer of mustard leaves over this. Mound the chicken and greens towards the center as you would apples in an apple pie. Sprinkle the cinnamon over the mustard greens and add 1 teaspoon of the ground cilantro and cumin seeds.
Now place the remaining chicken mixed with the remaining chopped shallots, leeks, and garlic over the mustard greens. Add the remaining salt over the mixed meat and vegetables. Add the remaining mint, roasted dill leaves and ground cilantro and cumin onto the final layer. Slice half the butter and place on top of the last layer.
Flatten the dough with the roasted dill seeds in it into a disk and lightly flour each side. Starting from the center, roll the dough out into the top crust. Make sure that it is at least a couple of inches larger than the dish. Fold the dough into quarters and place it on top of the pie and unfold. Pinch the top and bottom crusts together firm with your fingers and trim the excess crust with a sharp knife. If desired, press the crusts with the tines of a fork to seal them.
Pierce the top crust in several places and slice the remaining butter and place evenly around the crust. Place on the top shelf of your preheated oven towards the rear and bake at 350 degrees Fahrenheit for about 30 minutes – just enough for the crusts to cook.
When done, remove from the oven and let sit for at least 15-20 minutes before serving. Serve with the reduced broth that the chicken cooked in presented in small bowls. The broth can be spooned onto the pie or sipped separately.
So how was it? It was savory and delicious. The flavor of the rye and the roasted dill in the crust was fabulous and my husband really liked the taste of the layer of mustard leaves inside the pie and the flavor that it offered. The principal flavors of the filling are, in addition to hen and shallots are mint and dill. The cilantro and the cumin seeds (particularly the cumin seeds) add body and depth to these light and airy flavors. I found the interplay of the onions and mint very interesting. This is again another flavor combination that persists in Iranian food today, most strongly evident in their wonderful pickled onion and mint condiments. We both like the broth that was served to accompany the pie. My husband spooned it over the pie and enjoyed it like that and I sipped the broth in between bites.
There is one thing that puzzled me about the pie. Most of the time when the triad of shallots, garlic and leeks are pounded together, there is a binding element, like kissimu (drained yogurt) or occasionally blood. Frankly, the pie could have used a little kissimu in it to bind and moisten it. At some point, I will try this again with the kissimu and if it is a good addition, I will post the amendment to the recipe in this post.
One word of warning, the pie is a fair amount of work. When and if you attempt it, it is best to have most of the day available to prepare it and then give yourself a bit of a rest before tucking in. If you try this or any other of the recipes from the Yale tablets, please let me know – I’d love to hear about your experiences. More original recipes are available on the site as well as some of my revised translations of food words. You may also look at the results of our 2011 Mesopotamian Cookoff for some recipes developed by accomplished international cooks and chefs like Tenderloin with Licorice, Lamb and Carob Stew, Roasted Barley and Herb Pilaf as well as Sweet Mersu and Savory Mersu. (Words by Laura Kelley, Photo of YBC 8958 from Wikimedia, Photos of Mesopotamian Pie Assembled, ready for the oven and sliced by Laura Kelley.)